Did the actor Sayyid Ahmed Agoumi lose the compass during Ramadan? What makes us stumble after a track full of accomplishments? A question that appears to be a project that comes to mind, and we are reading the path of a great actor the size of Syed Ahmed Agoumi, this name traveled through the movie “Zad” to the most important halls of the world cinema. When the launch was in front of the camera of the international director (Costa Gavras), it was like touching the lamp of Alaa Religion, to accuse Lokoumi as a young man who has not yet reached the age of 29 big dreams, words are unable to describe from 1969 when the film was crowned with Oscars.
A nationalist and another name was born, in a complex Algerian climate dominated by customs and traditions, to find himself in front of a historic opportunity and prostrate the role of "the personal driver of the general" in the movie "Zad", wandering in the streets of Algiers, between Oudan, Didouche Mourad and Central Post Square And Bab Al-Wad, and arrives at the "Dolby" theater in Hollywood, for the film to be awarded the "Academy Award" for the category "Best Foreign Film."
The beginning was with another "road" behind the lens of the late Salim Riad, who was the first to bet on the talent of my people, accompanied by Muhammad bin Qattaf and Ould Abdel Rahman and Allal Al-Moheb who split the "road" at the end of the Algerian war, to tell the story of a small group of Militants successfully escaped from the concentration camp in 1868.
Between theater, cinema, and television, I succeeded in drawing the features of the first pictures of Algerian cinema after independence, and he excelled in choosing his roles in more than fifty works, most of which were films produced between the two shores of the Mediterranean, specifically between France and Algeria. This march announced the birth of A distinguished actor combining charisma with a strong presence on the stage and in front of the camera, an actor who does not repeat himself, as "the personal driver of the general", he soon left the steering wheel and then headed to embody different roles.
The beginning of my stay was not furnished with flowers, when he graduated from the Abdel Hamid Ibn Badis Institute in Constantine and obtained a certificate of eligibility that would have opened the doors for him to enter the University of Zaytouna as desired by the father.
A start like this did not imply that this handsome child would enter the world of acting, it was a completely different start with regard to his artistic path, as he said in an interview with "Nessma" channel: "This was not my ambition, when I succeeded in obtaining the educational certificate, I gave it to my father and I said To him, "I have fulfilled your wish, and now is the time to have my freedom."
Thus formed one of the most complicated relationships in the life of a nationalist as a person, it is the bond of the womb that brings him together with his father, to the point of crying every time he remembers his father after many years.
The image of that Algerian father with a stubborn personality remained stuck in a mindful mind, and he always remembered it, and he tells the story of (disobeying his father for the sake of art), as the father used to carry, like all Algerian parents, that his son be a doctor, ambassador or engineer, in a society that sees art , A kind of "shame" that Akoumi brought to the family.
Between the dream of freedom, and adhering to customs and traditions, a sterile retreat in art, and he paid dearly as he severed his relationship with his father for twenty years, and more than that he changed his real name from "Meziane" to my nationality, which means "the free guard" to give birth to a new man with features New and new dreams are far from father's dreams.
Iqoumi has carried this sadness with him for many years, as much as the happiness he felt when embodying the roles he loves, as much as his pain with his father remained like a thorn, and the late father did not recognize him as an artist, and he did not give him his respect except when Akumy was appointed director of the National Theater and took over Some administrative positions between the cultural house of Tizi Ouzou, Annaba and Constantine in the 1970s.
This is how I keep my last word that his father said to him before he passed away: "Beware, my son, because between the applause of the crowd and the whistling of wailing, a very short distance," he still remembers my nationality with such heartburn and he invokes it in every dialogue and occasion. The guardian reflects the parent's artistic culture and His relationship to the theater, which he kept hidden to satisfy the community.
Meanwhile, the owner of strong charisma, presence, and a lavish voice, has made other achievements in the world that I love, and the "Mr. Faber Mill" rotated in 1973, with the lens of director Ahmed Rashdy, who gave another nationalistic luster, through an experience that combined him with a group of actors. The Arabs are headed by (Izzat Al-Alayli, Abdel-Moneim Madbouly, and the Frenchman Jacques Rovello).
Sayed Ahmed Agoumi is also considered the other face of the Algerian artist who carried his bags in the black decade, towards France, he chose it as a destination to continue his career, especially the theater, and put his talent in a meeting with the texts of Jean Senac, Pharaoh's son, Rachid Maimouni and Panmar Medini, especially Kateb Yassine, who learned from him I do a lot, as he says: “I benefited a lot from the writer of Yassin and seized all opportunities.” And his teacher in the late theater, Muhammad Boudia, mentions in the play “Children of the Kasbah,” as the most important testimony in his life, even more important than the most ancient testimony of the doctor in the theater obtained by a tongue The friendliness of companionship Aloula and Yasmina to learn to carry out the most important lesson of life a thousand Intent on stage of the National Theater.
In the streets of immigration, the national relationship with Algeria did not stop. Rather, it turned into tales, cinematic stories and plays that he sometimes sadly recounted and tells the details of Algerian wounds on stage in French cinema halls, and gives the European public in his very strong French language, a transit visa "to" the side The Other from the Sea "as the title of the French director Dominique Cabrera's movie in 1997 indicates, and he continues the stories" Once Upon a Place in a Valley "in 2005 with Algerian directors Jamal Bin Saleh and Mohamed Sabri on the northern bank of the Mediterranean.
This balance, which is decorated with important works between theater and cinema, was not in line with drama and Ramadan works, especially in recent years, after the Algerian media scene witnessed an openness and diversification of channels, it is no longer nationalistic to its previous era and as the saying goes: "Every horse has a prophecy And every knight has a nap, "he has stumbled on several posts in recent years, and emaciated himself amid fierce competition
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